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Vanessa Rossetto, "Dogs in English Porcelain"
A strange voyeristic look into the world of electro-acoustic music, this album is composed of a single 40 minute composition. It lacks some important qualities, but has some interesting moments, nonetheless. Dogs in English Porcelain mixes instruments with animal sounds to create a flow of sound-energy which ultimately does little to entertain due to its emphasis on aesthetics rather than substance.
Segmented like a puzzle, Dogs strives to stay above water despite its often metallic and underwhelming nature. It is natural that Rossetto's music would be heavily visual because she is a painter, but as an audio piece her sophomore effort is lacking. Aesthetically speaking, it is captivating with its very quiet beginning and unique noises, including the use of what sounds like babies or even monkeys (birds are the actual source). The clattering of silverware employed gives Dogs a homemade feel and the droning background supports that aspect. Yet, in terms of substance, the record is rather empty and doesn't feature much depth.
Comprised of a single composition, the disc isn't very engaging and the musicianship is illusive and arbitrary. The first half of the piece is rather stagnant, with glimpses of ingenuity at the 15 minute mark, where we first hear stringed instruments. It only becomes interesting at the 30 minute mark when reverberated chimes enter the fray. It sounds like a glorious and fading meltdown. The intention is perhaps to disassemble the first 30 minutes of the piece while creating a considerable juxtaposition. The contrast between the first part and the second part of the album is achieved with an almost textbook feel. The fluctuation in volume and the various instruments makes it somewhat amusing, but awkward at the same time. The recording is technically well-produced and is expressive and the music is amorphous and distant yet well-grounded. There is a shift in force and focus towards the end of the disc that makes the whole thing seem more mysterious than it actually is. I think this is partly because there was no mystery in the piece to begin with.
The album does have its moments: the sublimely orchestrated strings, the wishy-washy tube noises, and scattered electric pulses are appealing in their own way. Although the effort is there, these 40 or so minutes only manages to introduce the listener to the world of electro-acoustic music. Thankfully, there are more worthwhile releases out there capable of doing just the same thing.
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